Interview from October 2025
Margherita Fava
Good evening, WUOT family, and welcome back to another episode of On Keys with your host, Margherita fava. Today, I get to share with you an interview with the young, thoughtful, up and coming pianist Paul Cornish, who you just heard playing in his debut single, dinosaur song. I'll leave you to it. Hope you enjoy so I'm really excited to talk to our guest today, pianist and composer Paul Cornish, originally from Houston, Texas, where he graduated from the prestigious High School for the Performing and Visual Arts, alongside other many great artists like Jason Moran, Robert Glasper, Walter Smith, the Third Chris Dave just to name a few. He also got his master degree from the just as prestigious Herbie Hancock Institute in LA and he was a finalist at the Herbie Hancock Piano Competition in 2023. His debut album, Trio, You're Exaggerating, was just released by none other than Blue Note Records, and he's currently touring nationally with his trio, where he's playing the music from this album. Thank you so much for being here today, Paul. It's such a pleasure to get to talk to you.
Paul Cornish
Likewise, thank you for having me.
I was wondering, could you tell me a little bit more about the process of this album, and maybe, like, a little bit how and when was the the seed of this idea planted? And go from there?
Yeah, oh, man, that's a good question, because I actually think the seed was planted long before I even, like, even know, because a lot of the songs I wrote, like, a long time ago, like when I was in college. Like, I think the old like the newest song, like, was written in 2019 and then we went in to record the record, December 2023. Yeah, good while ago. But, you know, I feel like nothing happens by accident, and I think the timing was right for when we recorded it and when it is coming out. Now, yeah, that's, that's the best answer I can give. We recorded it, you know, almost two years ago. And yeah, I'm just grateful that it's still holding up now.
Oh, it's absolutely holding up. It's great. And every time I listen to it, I notice some little things that I haven't noticed the time before. So it keeps on giving. And could you tell us a bit, a bit more about the band that is joining you on this album? We have Joshua Crumbly on bass and Jonathan Pinson. What is your relationship with these two amazing musicians, and what do you think they brought to the music.
Yeah. I mean, everything, they brought everything to the music. Yeah. I mean, they're both two musicians and people I've just looked up to since I moved to LA. I think Jonathan was finishing up the Herbie Hancock Institute, which I also did later on. But I think when I first moved to LA and like, some of the first gigs I got to do, he was on them. So I've always just been connected to his playing. And of course, I just heard about him through the years because he was playing with people like Stefan Harris and, you know now Mark Turner, like he's just somebody in Braxton Cook, yeah, he's someone you see a lot. And then same with Josh Crumbly, like I remember hearing, I remember seeing him play with Terrence Blanchard when I was, like 15, and I went to a camp called Skidmore. And then, I don't know, I've always just loved his playing since then. And then, you know, as they both, like, I think, moved back to LA at a certain time, like, we just started getting hit up for a couple gigs. Like, I remember Braxton Cook brought us to, I think, black hat in San Francisco, which is like, you play multiple nights at this club. So we really got to, like, settle into a vibe. And actually, like in general, we haven't played that much as a as a group, as a trio. But like, every time we've played, it's felt really special. Um, I like to call Josh and Pinson like yin and yang, like Pinson is fire and and Josh is water. But like, secretly, like pins is water on the inside and Josh is fire on the inside. You know, I'm saying so I've like, they both bring the best out of each other and complement each other, and specifically for like, how I like to play and how I heard this music, like I knew that's what I wanted to bring to this music, and they exceeded my expectations. So I'm just grateful that they wanted to be a part of it.
And you just heard Paul Cornish trio featuring Jonathan Pinson and Joshua Crumbley playing DB song. Now let's talk a little bit more about the music, a little bit more in depth. You have some great tracks on this album. I love your first single, dinosaur song, but another song that really captured my attention is, I hope I'm pronouncing this correctly. Quiet anxiety. Is that how you pronounce it?
Yeah, yeah. Quite, quite anxiety. Or, you know, it's
Yeah. So I was reading about it in another interview that you made, and in the interview, you talk about being a people pleaser. And I can definitely add myself to the list. You know, I'm one of those myself. And so I just wonder, like, how do you manage this side of your personality in moments when you need to be a band leader?
Oh, yeah, that's a great question. Um, yeah, I guess, like, not focusing on myself, like, which, which feels like kind of antithetical. But like, anytime I feel anxious or nervous, like I just like, like, focus on other people, you know, and that's a great minder reminder that it's not just about me and it's like, actually, like, hardly about me, you know, in terms of the music, like, even though my name's on the marquee, and people, you know, maybe they're coming to see me, but like, you know, we're there to give them experience. And like, you know, I feel like I'm more confident in what you know the band can do, what Jonathan and Jermaine can do. Like, I know they're going to be consistent. I know whatever I bring to them that day, like, they'll make it sound good, and I want them to shine. Like, honestly, like, I want people like, I love when people walk away, like, man, that drummer was amazing, that bass player was amazing. Like, a beautiful chemistry going on. Like, I'd much rather hear that than people say, like, oh man, like your piano playing is amazing. Like, that's nice. But like, um, I don't know. I just know it's more than just me on that stage and, like, in order for it to go far, like, there's that quote that's, like, if you want to go fast, like, go alone, you want to go far, like, go together. So I, I think about that a lot, and it works like, really, like, because I don't nothing is ever as bad as it seems. So like, I think if we're so self concerned, you know, we just have such a skewed view of, like, how people are perceiving things. Like, you know, if I start to go down that rabbit hole of, like, man, like, I, you know, I hope I don't screw this up, or, like, how am I being perceived? Then I don't know that's just a dangerous place to be, because then our thoughts just spiral. So I noticed when I just take step back, breathe a little bit, you know, maybe I can acknowledge, like, I'm not playing my best today, or maybe this isn't going as well as I hoped. Like, that's okay, like, I think good things will come out of it. I think, you know, it will make a positive impact on somebody, even if it's one person, and that's a good day for me. So, yeah, I hope that makes sense. I agree with everything that you said, and I feel like even when you are a band leader, like the band aspect is what excites me more than me being the leader, like, how I love the the sound of the band as a whole, versus having the main act and the supporting act kind of thing. So I totally agree with what you're saying. Yeah, that was, that was absolutely the intent of the album, and that's kind of part of the title as well. Like, actually, haven't really told any body this, but, like, I think the typical thing with a debut jazz album is like, and especially Piano Trio, it's like, it's so much focused on the pianist. Like, it's so much like, yeah, like, how can this this? This is the new flashy like, pianist like, and like, he's here to impress you with, like, his chops and, you know, his technique and, like, that's just never really been my approach. Like, first of all, I don't even know if I could do that if I wanted to, like, if I really, you know, was going for that. I don't think it will go as well as I think. And I don't know things I loved about my favorite piantre, I was like, it was a group thing. Like, it was group sound. And I think, you know, you just don't really hear that as much nowadays. You know, with records that have come out recently, actually mean some amazing pianuros have come out recently, but like at the time when I recorded it, I felt like it wasn't as focused on so the year exaggerating part is, like speaking to that, of like, my debut record doesn't have to be about me. Like, I don't. I don't need to focus on impressing anybody for this to be good music. Like, if the music is good, like it will, it'll speak for itself. And, you know, it like, funny enough, like, coincidentally, like, it will draw people back to to me in, in a certain way, like, maybe not in like, Oh, this is the greatest pianist. But like, oh man, like he has something to say. So yeah, sorry not to ramble on that.
Absolutely yes, yes, yes, yes, yes. Welcome to On Keys, on WUOT 91.9 FM, also streaming on WUOT.org, I'm Margherita Fava, and today I'm talking to pianist Paul Cornish, and we just heard another original composition of his entitled Queen Jerry. There's a song dedicated to one of my heroes as well, the great Jerry Allen. The song Queen Jerry. So just interested like, what is your relationship with Jerry Allen, and what was her impact on you in your development?
Yeah. So it's funny. I actually, I met her once when I was in high school. I got to see her trio with Esperanza and Terry Lynn. But I just remember meeting her in the lobby. She was super nice. But I still, I still didn't know too much about her, like, you know, I got into her music, actually, when I got into college, and then I did this program called Banff creative workshop, and this great bassist named Harish Ragavan, he did a whole class about one of her solo albums, and I just remember he played the record, and I was like, Yo, who is this? Like, it's one of those things, like, I don't know. I think certain things for whatever reason, they just, like, resonate on like, a spiritual level with us, like we don't even know why, but it just like you hear it, or you see that piece of art, or you see that movie, or you hear someone speak, or you know someone's personality, it just kind of agrees with you on a deeper level. And I feel like that's when I heard her. I was like, wow, this is literally everything I've been trying to, like, go after, like, in my approach to music and improvising. And so since then, I've been kind of obsessed, like, and then she passed, and I've just gotten deeper into her music, and I'm realizing that she's had kind of the same like impact, like deep impact, on a lot of incredible pianist, like people like Jason Moran, Vijay Iyer, Craig Taborn, Chris Davis, Oren Evans, like all these people like, and I just, I've never really heard her get mentioned in those conversations of like, you know, the most impactful you know, pianist you know, so and, and then we also just have a shortage in general, in, like, modern jazz pedagogy and, and really, just, like, a conversation about, like, the contribution of like women in the music. So, yeah, it's kind of, it's kind of twofold for me, of like, really lifting up her legacy. And, like, I want more people to be talking about her and also playing her music. And then also, I think the onus of, like, just lifting up, you know, just really recognizing the contributions that have already been made by, like, the incredible women in this music. And I think when we have a more diverse representation of how we talk about this music and how we teach this music. Then, like, it makes, like, profound impacts on students now, like, you know, so I'm seeing a lot more like, young female students, like in schools and like, it's so important to be able to see yourself in in this music.
No man again, once again, you're hitting all the right points. You're you've really, you're saying a lot of really important stuff. And I'm really grateful I'm getting to talk to you about this right now. Yeah, Jerry, Jerry is incredible. Is there a specific composition of hers that inspired this Queen Jerry?
Oh, actually, yes, not you say that she has this composition called drummer song, and it's actually off of one of my favorite trio records of hers. All the records are incredible, but she did one for Blue Note actually, and it's featuring Tony Williams and Ron Carter. So that's like, the ultimate like rhythm section, and she's just, like, taking names on that record. So that's why like on Queen Jerry, like it kind of features the drums in the middle of it, you know, like the drums are kind of going crazy. And because that's how like drummer song is kind of constructed, there's kind of a drum solo in the. Middle of it, and then there's a drum like a soul section at the end. So it's very much like reminiscent of that.
And that was drummer song by Jerry Allen here interpreted by Wayne Shorter, Terry Lynn Carrington, Esperanza Spalding and Leo Genovese live at the Detroit Jazz Festival. You know, yes, you have a jazz trio album out, but before that, you worked with so many other different sides of the music business. You've been in rock bands with Haim. You worked with Louis Cole. So have you seen a lot of sides of the music business as a whole? So I'm just wondering, have you noticed any main difference when it comes to different genres in the music business? Or what have you noticed in dabble in so many different fields?
Oh, I get this is a whole conversation in itself, but I've noticed a lot of similarities, but also definitely some major differences. It's interesting. Like, how each like, I guess, like, I'm gonna call it the industries within the industry, like, because I feel like each genre and music, I've noticed, like, they kind of have their own set of rules that they go by, but everyone's kind of doing the same thing, you know, like, the goal is always to, you know, tour and present music in a certain way, and then there's Different levels of like, support around that. So, I'm very, I'm very grateful that I've gotten to experience it on multiple sides of that. And so, yeah, I don't know, like, I think I've just grown to respect. Like, not, not that I've never that was ever in question. But like, once you see it, like behind the scenes, like how much work goes into it, and like, especially like being around the heim sisters, like, I don't know if I know too many people that know more like music history than they do. Like, they can recall every album, every rock album, and, like, pop album, they can tell you who played on it. They have such reverence for, like, the history of the music. They work really hard. Nothing was given to them, you know, like they they were here grinding it out in LA for a long time before they got their big break. And they're some of the most downsized people. So and, yeah, it just reminded me of, like, what I've seen in the jazz industry. Like I know people that have been out this for a long time, they work really hard. They know they're very knowledgeable about the music. So I guess that was the biggest thing, like seeing the similarities between, you know, the approach, you know, into different genres. And, yeah, the last thing I'll say is, I think, I think the jazz industry could be a lot better in terms of, like, how we present music, but it's, it's tough because, like, there's just less money in it. So in terms of, like, promoters, and, you know, you know, bookings and everything. So it's kind of a catch 22 but, yeah, that's been the main, biggest difference, like the support around things. And, you know, I can go on and on.
What is an aspect that the jazz scene could borrow from the more like mainstream and vice versa?
I think we could modernize a little bit like, I think we still have, like, very It feels like we're way behind in terms of, like, marketing and promotion, you know, and it's fair, it's valid, like, I think the a lot of the people that are in this music have done it for a long time. You know, a lot has changed, like, within the last few years, especially with covid and everything kind of shifting to online. I think it's just been a tough adjustment for a lot of people, because, like, I think it's just tougher across the board, to, like, sustain presenting, you know, live music in general, really, and it's a labor of love. Like, the people that are doing it, they're doing it because they love it, not because, you know, it's making a bunch of money. So it's, yeah, it's a tough spot to be in. But like, I don't know, I would love to see just like, a more modern and, like, aware approach to who we're marketing to, and, like, how we market, because I think the problem isn't the music. Like, I, you know, I, I'm grateful that I run into a lot of people. I'll say, like, Man, I I heard your music and, like, I've never really heard jazz, like, You're the first a few people told me, like, this is the first jazz show I've been to. Or, like, this first time i. Uh, you know, I've heard jazz, and, like, I'm really interested now, so I that just tells me, like, we just need to get the word out to, you know, to, you know, wider audiences. And I think the people who was for it'll be brought to but I think I don't know, we're kind of stuck in a certain way of, like, how we've been doing things, and I think it works in a certain way, but I think there's a lot more possibilities if we were to branch out and kind of just meet the moment, you know. So I hope that makes sense. I know I'm like, I'm kind of rambling, but that's just my opinion.
You've been an independent artist for a long time, and now fast forward to 2025 you're assigned to the biggest jazz label, Blue Note Records. So how has your daily life changed since this big shift?
That's great question, yeah. And first I have to say, like, I don't know, like, faith is a huge thing to me. So, like, yeah, I just have to give, like, all credit to God for, like, how everything has happened. Because, like, I don't know, like, of course, like, everyone that, like, studies jazz, or, you know, wants to become a jazz artist, like, they want to put something out on Blue Note. And I don't know. Like, I didn't know how I was going to get there, you know, and I think it's just been a crazy journey. But like, I don't know. I'm just really grateful that, like, you know, I've kind of waited this time, like, I'm about to be 29 next month. And, you know, by a lot of accounts, depending on how you look at it, like that would seem like, that's really late to, like, put out your first record. Like, is anyone even going to pay attention? And for it to be my first record, and then for it to come out on blue nose is like, a true blessing. And like, I, I don't know how else to happen other than like, you know, God's like, divine, you know, hand in it and timing. So there's that. And, yeah, How's it changed my daily life? Yeah, it's been a like, it's been really nice, because now it feels like my job is to be an artist. You know, I don't know if that makes sense. Like, of course. Like, Yeah, as soon as you decide to be an artist, then it's your job to be artists. But like, really, now it's like, not like, actually people are like, depending on me to be an artist, and like, I should put the focus and intention behind it, like, it's my job. Because now it is like, like, someone has paid me money to put out records, to continue to develop my artistry. They want me to go play shows. And so it's, it kind of feels like there's a consequence, like, if I don't focus on it, like, before you can kind of let it go by the wayside, because you're playing for other people's projects, you're teaching, you know, whatever. But I feel like I have to prioritize and that, and that's something I've always wanted to be able to get to. Like, I think there's a freedom there when you when you get that, when you're afforded that, so it that's how it shifted for me. Like, I feel like, Yeah, I'm just not doing as many side projects. You know, I'm being more selective about that, because, like, my time just feels like more valuable in that sense of like I need to spend, like, the time that I have, like, you know, focusing on my my heart and, you know, just making the live shows as best it can be, like, making sure I'm in shape at the piano and and I'm continuing to write stuff, new stuff, you know? So I would say that's been the biggest shift, which is, has been a blessing, because, like, that's, that's the dream, right? Like, or at least for me, like, I knew I always wanted to get to a place where I can just focus on my Art and you know, so I'm grateful for that.
You just heard Paul Cornish feature on a Joshua Redmond song entitled a message to unsend from Redmond's latest record. Words fall short,oddly enough, this is not your first project under blue note, because recently you been a member of Joshua redman's band on his latest Blue Note album. So I was just wondering if you could tell us a little bit about that experience, and what was your role in that band? How did you mesh. With the rest of the musicians. And what was that like?
Yeah, I mean, and that's the other part of, like, what I was saying earlier about, like, divine timing, because, like, what? Like, you kidding me? Like, I, I get to Join Joshua Redmond's band, like, really, two years ago, and that's, you know, that's a ride around the same time I, like, went to record my album, and, yeah, I met him at at the Stanford jazz camp. And, you know, we just kind of connected, like we didn't really talk much there, but like, he it was actually two years in a row where we were at the same camp. And the second year, you know, he asked for my number. You know, I wasn't thinking anything of it. And then a few months later, he was like, hey, you know, I got this, like, Day coming up, like, Are you down to do it? And I was like, Yeah, of course. Like, what do you mean? Like, and so I was fortunate to get to do that. And he was like, Yeah, I have a lot of stuff coming up. Like, I have you in mind for it. Like, you know, just so you know, he told me he was getting ready to put out a record on Blue Note. Or he didn't even say on Blue Note. He was like, you know, I can't really say who was for, but it's coming out, and you know, you know, I'll, basically, I'll be hitting you up. And thankfully, he did. And, yeah, it's just been a amazing experience. And, like, I literally can't think of a better time for it to, like, come into my life. I don't know how he keeps doing it, but like, I think he put together like, an amazing, you know, unit, like, you know, not even talking about myself, but like, Nazir and Phil are two the most incredible musicians I've been around, and we actually really gel off the bandstand. And I think all of our strengths, like really complement each other, so it's a lot of fun. I'm grateful we recorded album together, and like you said, that came out right before my record. And, yeah, we have more stuff coming up, so I'm, yeah, just really grateful for that and and how it's happening.
You know, another thing that is peculiar about you, you and I, because I follow you on social media and I you did something that really like I don't see done often. You use your like, your exposure that you gain when you release your first and second single. To give a shout out to as many upcoming pianists the like your age, younger and older. And I thought that that was really special. And so I was just wondering, why is that important to you?
Uh, personally, yeah, thank you for for asking about that, because that's, yeah, something that's super important to me, yeah. Like I said, I mean, I'm, I've been at this for a little bit, like, you know, relative to some people, is not a long time. But like, you know, I've been at this at least, like, 12, 10, 10, 11, years. So I've seen so many, like, parts of it. And like, you know, I remember the people that I came in with, like, we've all been at this for a while, and it's not an easy thing to do. Like, it's a blessing to be able to be in this for a long time and to be able to sustain ourselves. And, yeah, you just start to see some people, like, really settle into their careers. And so it's really kind of a celebrate, like, I feel like my moment is their moment as well, and their moment is my moment as well. Like we've we've all seen each other on this grind, like trying to make it happen. And so it's really an acknowledgement of that, like, this is not an easy thing to do, but we're all kind of in this together, like we all have the same goal in mind. Like, we all love this music, and, you know, we just want to be able to contribute to it. So, yeah, I just want to acknowledge that. And, yeah, also, like, I just, in general, I believe, like, no one's success is, like, just for themselves, like, it's kind of a waste if you're only using it to only, you know, promote yourself. Like, I think, yeah, if you have a platform like you, you know, I feel like I have a responsibility to, I don't know it's like, shine a lot on others, because I know other people have done the same thing for me, like when they didn't have to. A lot of people have mentioned me before I got signed, before I had a record out, or talking about me in rooms that I wasn't even in and I didn't know of, and so I didn't get here on my own. And so I think, if anything like I just have a responsibility to continue to pay it forward.
I mean, yeah, it's beautiful that you see it as a responsibility. Because it's true, it is. It's it takes a village, you know, I mean, and that doesn't take anything away from the hard work that you put in, of course, but it's just, you know, it's a celebration. It's the more people involved, the better to me, at least.
Yeah, and I mean, I'm really, I'm just doing it too, because I like, I hope it becomes a common thing. Like, a few people have mentioned it to me, like, oh, like, you just don't see that. I'm like, I like, I feel like we should like, it should be more common. Like, I feel like it shouldn't be a surprise when that happens. And I think, but it starts if people like see it, I think it's been happening in my generation in general, like, we're trying to reverse a lot of the toxic traits that have been in this music for a while. And the question is, like, why not? Like, why can't we, you know, continue to rise in our individual careers and also help promote other people, or shine a light on other people, like, you know, feast, not famine mentality, you know. So that's that's really my hope in doing it as well. Paul, thank you so much for for joining me today. And again, congratulations on the new album, and best of luck with the rest of the tour and any new project you have coming up? It has been a pleasure talking to you. Thank you. Likewise. Great questions. Thank you for listening. Thank you for your input. Yeah, really stoked to that this worked out.
